Wasn’t said manager he also her husband? And he still is, I believe. I think she should have dropped to dramatic mezzo years ago. She’d have made a good Eboli, for instance.

Notice in the gold dress video she takes it VERY slowly and milks every syllable. She also makes most of the entrances late, most noticeably the first one, when the conductor turns to her and gestures politely for her to enter, about 2 beats late. He’s probably thinking to himself “sing you stupid cow”.

There is also a blue dress video, taped outdoors somewhere. In that she doesn’t seem to be in very good form, although it could just be the miking/acoustics.

Her hair was always a problem too, wasn’t it? Its always like she is copying things she sees in Italian fashion magazines from the 40s.

Either way, its interesting to know that she is trying out some acting. At least she isn’t giving embarassing recitals in Japan, or anything like that. (laughing)

There is no relationship between the two plays.

“Souvenir: A Fantasia on the life of FFJ”

The title says it all. This two-person play chooses to tell the story of Jenkins from the viewpoint of Cosme McMoon (her accompanist) and their relationship. While there is no actual proof of this friendship as portrayed by its playwright, Stephen Temperlay, he successfully weaves a delightful evening’s entertainment. It is an assumption and does not claim to tell the true story. And the final scene of the play is worth the price of admission.

Judy Kaye is phenomenal in the role, imitating the Jenkins voice to perfection. During the play, Jenkins plays one of her recordings. The producers could have easily used the original Melotone shellac but Kaye went to a recording studio and recorded the Queen of the Night aria and uses this in her portrayal. Most audience members think it is the real Jenkins they’re hearing but it’s the amazing imitation by Kaye.

“Glorious!” “based on the true story of FFJ” by Peter Quilter

This couldn’t be farther from the truth. It claims to tell the “true” story but is rife with errors. For example, the play, which takes place only in the year of Jenkins’ death (1944), begins with McMoon meeting her for the first time (he actually met her in 1920). She asks him if he’s heard her recordings (McMoon is her accompanist on the recordings), etc. etc.

There is a new documentary about Jenkins called “FFJ: A World Of Her Own” available from VAI. I highly recommend it. It is void of assumptions or opinions and puts forth medical and psychological facts that explain just WHY Jenkins did what she did.

I don’t think it sad that she’s playing FFJ on stage. Her singing career is over so why not? If she were still in the middle of an operatic career, there might be nasty art-imitates-life comparisons but that’s not the case.

I always believe that had she stuck to that, she would have been an unbeatable Verdi soprano in the heavier stuff around the 90′s and she could still be singing some stuff quite well.

She had a regular top, it wasn’t the biggest one in the business but it served her fairly well for some years. About the legato, i have a 1971 Parma Trovatore with her in the freshest of voices. You think she has everything to master those long ethereal lines of Leonora but, once in a while, you feel there is a lack of a consistent legato. Nevertheless, she gives a great performance.

How long were she and Carreras an (illicit) item?
And is she still married to Pippo Baudo?

Another point is that because Ricciarelli had more or less by nature a really gorgeous instrument, she never solidified her technique the way artist with more recalcitrant instruments are forced to do. After the age of 35 or so a natural voice sometimes runs aground simply because of the loss of youthful flexibility, and by that time a singer in busy mid-career may not have the time or the inclination to restudy.